Exclusive review – Sony RX10

Super 8 and Super 16 movie cameras took a free-roaming Henri-Cartier Bresson style to documentary filmmaking and “run & gun” for the first time (as early as the 1960’s). Cadid footage of JFK on the election trail. French New Wave cinema in the 80’s. The run & gun simplicity of Bolex Super 16mm cameras is timeless.

The Sony RX10 on paper is perfectly equipped to be a cinematic run & gun camera. The lens for example: a stunning Zeiss 8.5-73mm F2.8 (constant aperture) zoom, would be worth $10,000 on a 16mm cine camera.

But does the camera as a whole deliver a cinematic image?

Read moreExclusive review – Sony RX10

Sample video – comparing the Sony RX10, A7R and FS100

Download the original file at Vimeo

Note: This is an early-days test I did quickly before a shoot today. A larger one encompassing more cameras (GH3, D5200, 5D Mark III, Blackmagic Pocket Camera) and scenes will be on EOSHD during the coming week.

The Sony RX10 appears to play in the same ballpark as the Sony FS100. Is this the new budget king for semi-pro videographers?

Read moreSample video – comparing the Sony RX10, A7R and FS100

On test – first impressions – Sony RX10 and A7R

Sony RX10 / A7R

More than any camera that came before it even from Sony themselves, the A7R marks the end of the DSLR era and a transition to a future. Next to this camera the Canon 5D Mark III looks, feels and performs like the dinosaur it is.

However it’s the Sony RX10 that is arguably the most capable from a video perspective.

Read moreOn test – first impressions – Sony RX10 and A7R

On test – the final SLR Magic Anamorphot 50 x 1.33

SLR Magic Anamorphot 50 1.33

SLR Magic Anamorphot 50 1.33

View 10 frames from a rehearsal shoot with Bunny Suit, a Berlin based band I’m currently working with on a music video

Disclosure: I have worked closely with SLR Magic in refining the flare and have a close relationship with SLR Magic, but I am approaching the lens objectively in my articles.

It’s here! The finished lens.

Read moreOn test – the final SLR Magic Anamorphot 50 x 1.33

Kinefinity KineRAW MINI review

Aside from Blackmagic there’s only one other company endeavouring to give us affordable cinema cameras at the moment and that’s Kinefinity. The MINI is a smaller cut down version of their S35,¬†shooting 2K uncompressed raw to SSD from a Super 35mm sensor. It has an option for 4K to an external record (Q1 2014) and it’s a powerful piece of kit, though I have some reservations about usability.

Is the KineRAW MINI the early stages of a new Arri? A Chinese cinema camera industry?

Read moreKinefinity KineRAW MINI review

New H.265 codec on test – ProRes 4444 quality for 1% of the file size

H.265

CineMartin are the first company I know of to give us H.265 HEVC (High Efficiency Video Coding) conversion with the just-announced CINEC v2.7. It supports up to 4K resolution and you can try it today.

In case you live at 12 Under Rock Drive, the H.265 standard is the biggest codec of the decade. It supersedes today’s most common codec for encoding and internet delivery of video (H.264) and makes 4K recording to SD cards possible on DSLRs.

Read moreNew H.265 codec on test – ProRes 4444 quality for 1% of the file size

In depth coverage – Panasonic announce 4K video capable Micro Four Thirds sensor

Panasonic GH4 4K sensor

The recent rumours surfacing of Panasonic releasing an AG-GH4 around the $3000 mark have been given a boost. Panasonic have now officially announced the existence of a 16MP Micro Four Thirds sensor which is capable of 4K video at up to 30fps, matching the rumoured specs of the GH4.

Tantalisingly this sensor is even available as a customer part on the open market, making it available to Blackmagic Design.

Read moreIn depth coverage – Panasonic announce 4K video capable Micro Four Thirds sensor